Customer Reviews

Stravinsky: Music for Two Pianos (Music For Four Hands)

5 star:		(4)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

I picked this one up for the Concerto alone, and it would be worth it for the Concerto alone (which is said to be Stravinsky's favorite among his purely instrumental chamber works), but the whole disc is terrific. It is the best recording I have heard to date of the (admittedly under-recorded) Concerto for two pianos, which is MY favorite of all middle-period Stravinsky, and the best piano performance I have heard of "Le sacre," whose textures are so orchestral in conception, that even four hands can barely manage the score.

At the risk of being tedious, this reading of the Sonata is the best I have heard. It is an affable, gracious work, which can too often be over-prettified. The music itself IS often pretty, but for that very reason, it does not need layers of rouge.

Mark Swinton mentions "Stravinsky's own arrangement for two pianos" of "Agon" and "Le sacre"; since these were both ballets, and therefore intended for stage production, the four-hands piano arrangements were a purely practical matter, in order to rehearse the dancers. So it is no particular surprise that Stravinsky prepared the four-hands arrangement of "Le sacre" to be done at one piano. ("Agon" on the other hand, is so all over the place, and rhythmically diverse, that it probably needs two pianos just so the two players can remain on speaking terms afterwards ....)

This in no way diminishes the delight in hearing "Le sacre" at the piano; there are some aspects of the score which are sonically clearer in the homogeneous (and hammer-driven) piano timbre, which meld together in Stravinsky's enormous orchestration ... which included eight horns ... as far as I can tell, so that the famous polychord (E-flat dominant seventh over F-flat major) in the "danses des adolescentes" could be punctuated in its entirety by the horn timbre.

The music is brilliantly played, as Mark says; but that is NOT all. It is marvelous music, some of the finest in the considerable catalogue of one of the twentieth century's musical giants; music which deserves to be heard, deserves to be played well.

I had the pleasure of meeting Benjamin Frith and Peter Hill last month when they visited York University as guest artists in the university concert series. I got to turn pages for them in the performance, which included Stravinsky's own arrangement for two pianos of his ballets "Agon" and "Rite of Spring," the latter of which they played at just ONE piano. I will carry the experience with me to my grave- on this recording you will be able to share, albeit partly, in that experience.

Stravinsky in fact made this transcription for use in rehearsals of the ballet, and whilst the vivid orchestral colours of the full score are lost, the reduced scoring nonetheless makes for a fascinating sound. The performance throughout these works is faultless and speaks of a great understanding of the music, but it is in their interpretation of the "Rite" that these men reveal their extreme virtuosity at its fullest.

This recording is a rare and powerful listening experience, whether or not you know or care for Stravinsky. I recommend it wholeheartedly- if nothing else, for the sheer brilliance of the playing.

Naxos label has managed to fill some gaping holes in the recorded repertoire and this delightful recording from 1996 is certainly a welcome addition to the library. While many famous pianists have recorded the solo piano versions of Rite of Spring, this is one of the few versions of the two-piano version. Benjamin Frith and Peter Hill may not be major names in the public eye, but their commitment to this work is first class.

But for this listener the works that bear repeated listenings are the rarely heard 'Sonata for 2 pianos' and the 'Concerto for 2 solo pianos', both works being favorites of Stravinsky himself and of concert goers fortunate enough to have heard then in the hall. The readings of both of these works are superb with just the right balance between the pianos to make it sound like one huge keyboard! The pianists play with nimble dexterity, rhythmic accuracy and a driving propulsion that yields to melodic lingering when indicated.

Recordings such as this are too rare and are like a breath of fresh air when they appear. Highly recommended. Grady Harp, November 06

You can really feel the primal idea behind The Rite on this recording. The piano version brings out colors and tones that are hard to distinguish in the full orchestral ballet versions. Definately a must AND at a great price too, thanks to Naxos.

Last week I heard the piano reduction (pre-orchestration?) of the Rite of Spring in the background of a Radio Lab podcast, and thought, whoa that's interesting. So in 15 minutes (the beauty of the internet) I found this recording online and ordered it delivered.

Rite has always been a stalwart listening pleasure, but it is SO MUCH about the orchestration that hearing it stripped bare, down to its naked notes with no shades of timbre to hide behind, is nearly shocking. The clangorous intervals collide, shooting out vicious sparks of violence and rhumbas of jagged rhythm. It's like the skeleton of the Elephant Man. In fact, by stripping away the elaborate plumage the true revolutionary Rite is revealed.

The other two pieces weren't what I bought for -- but the other reviewers seem to like them so I'll give them more time to soak in. Meanwhile TRoS is on endless repeat until the scab heals.

I am a great Stravinsky fan and I am especially a fan of his 'The Rite of Spring', which moves me like few other 20th century pieces. I listened to this CD several times, and never found it impress itself on my consciousness beyond the level of background music. I noticed that at least one reviewer who probably knows a lot more about realizing piano pieces than I do found this lacking. I would consider looking for a more moving realization of this work.

One of the reasons Stravinsky is top dog for me,"The Rite of Spring", and this is another way to experience it. Frequently stopping in my toils just to listen. Amazingly beautifull.

Before I begin my comment, it is worth noting that I am comparing a recorded piece of music to a piece I heard performed live.

I was fairly excited to own my own copy of this music, after attending a piano concert where this was played. How disappointing.

The musicians play this very mechanically. No emotion. And I don't know how one can't get emotional playing this piece. I got bored and turned it off. I could be jaded, having first-hand experience with this music, but I'm inclined to npt believe that.

Another problem I have with this recording is some of the tonal depths. The piece, as an orchestral composition, has high treble notes and low, pouding bass sections, which aren't brought out in this performance. I don't know if the recording is poor, or the musicians purposefully quieted the rhythm and bass sections. Either way, it adds to the monotony of this attempt.

Very very disappointing.